Tag: Film

Recommended by Ricochet Members Created with Sketch. Member Post

 

Last week, J D Fitzpatrick, gave us an opportunity to watch some of the best duels ever filmed. The voting became a duel itself as Songwriter slowly wore down Philo over several days. On Friday they clashed swords up the castle stairs, finally collapsing in a bloody draw, causing JD Fitzpatrick to step in to […]

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Recommended by Ricochet Members Created with Sketch. Ricochet Movie Fight Club: Question 20

 


Two-time champion, Brian Watt, learned exactly how hard it is to win three in a row. Teaching that lesson (with a little help from a blind Audrey Hepburn) was J D Fitzpatrick, who earned the right to ask: What movie has the best duel? All movies should be pre-CGI. For this question, a duel is defined as a single moment of combat between two characters, with a clear resolution. Duels can be short or long, but they should display unity of time, place, and action, meaning that the contest is restricted to a particular moment in the film, not drawn out over its course.
The Rules:

  • Post your answer as a comment. Make it clear that this is your official answer, one per member.
  • Defend your answer in the comments and fight it out with other Ricochet member answers for the rest of the week.
  • Whoever gets the most likes on their official answer comment (and only that comment) by Friday night wins the fight.
  • The winner gets the honor of posting the next question on Saturday.
  • In the case of a tie, the member who posted the question will decide the winner.

Notes:

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Last week, Brian Watt asked a simple question that created a complex discussion on what makes a bad movie bad. As a result we learned a lot about one another, including getting a good look at Samuel and his dog. But Brian was the only one standing at the end of that 300 comment battle […]

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More than a couple tries were taken to get where I wanted to be with this group writing post. It began as an exploration of the filmography of Cab Calloway (yes, I have been watching too many Al Jolson movies), then became a review of/pitch for watching a Russian indie film, and finally manifested as […]

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Contributor Post Created with Sketch. Recommended by Ricochet Members Created with Sketch. Reels? We Don’t Need No Reels–August Group Writing Project

 

A reel of film is one of the most universally recognized symbols on Earth. It means glamour and show business. Hollywood. But as with a lot of stock images and phrases, obsolescence sets in. Since the turn of the century, digital “film” cameras are really just vastly improved video cameras, and theater projectors are now digital devices that show a movie off a hard drive. Other than museums and specialty events, after roughly 125 years of motion pictures, we don’t use reels of film anymore and haven’t much in almost a generation.

In the film industry since the earliest silent days, the metaphorical expression a “reel” simply means ten minutes. If someone refers to “the fifth reel” of a picture, they mean roughly 40 to 50 minutes in. But the only reels you’d ever be likely to see, the ones in a projection booth, are 20 minutes long and have been since shortly after WWII. As noted, a lot of film technical language is obsolete.

Recommended by Ricochet Members Created with Sketch. Ricochet Movie Fight Club: Question 18

 

Last week Brian Watt came out of his corner raging for a Page One knockout. Philo’s Page Three uppercut sent him reeling and Brian ended up clinging to the ropes, eying the clock but still upright when the final bell sounded. His jaw may be a little sore today, but not too sore to ask: What is the worst movie (not a made-for-TV movie) ever made?

From Brian:

Recommended by Ricochet Members Created with Sketch. Member Post

 

Last week Arahant asked about the best love story. Songwriter was quick to snatch up The Princess Bride which had no trouble knocking out heavyweights like Casablanca, Dr. Zhivago, and even The Passion of the Christ. Two things happened as a result 1) we learned to never underestimate the might of The Princess Bride, and […]

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It took a mere 219 comments to convince us that Arahant was right (he usually is) and that Casablanca was the most entertaining movie set in WWII. Today he gets to revel in his victory and also ask this week’s question: What is the best movie love story? The Rules: Preview Open

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Recommended by Ricochet Members Created with Sketch. Member Post

 

Week 13 saw a Gary McVey, and Repmodad slug it out twelve rounds, then pull off their gloves and wrestle into the stands. Repmodad finally knocked him out in the parking lot, winning the right to ask: What is the quintessential American movie?  You can go a lot of ways with this one. Happy Independence […]

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Last week Charlotte edged out Richard O’Shea for the win. It may have been Covid-19’s fault, officials are looking into it. This week Charlotte asks: Name the best animated feature-length movie of all time. Ideally “best” would encompass story, character development, and technical brilliance (ie, it should be beautiful to look at). Go!The Rules: Preview Open

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Pursuant to Ricochet Movie Fight Club rules section 37B, which states the undersigned shall forfeit all rights privileges and licenses herein and herein contained et cetera et cetera… huhh fax mentis incendium gloria culpum et cetera et cetera… huhh memo bis punitor delicatum, LC the runner up of last week’s Movie Fight Club question asks: […]

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Tex929rr, winner of last week’s Movie Fight Club question has a fun one this week, he asks: What is your favorite little known movie? Hopefully we’ll lead each other to some hidden gems to try out this weekend (we could all use the distraction). Of course, the most popular answer will win the fight. The […]

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Recommended by Ricochet Members Created with Sketch. Movie Aspect Ratios, Audience Immersion, and Eggs

 

I have the Blu-ray of Stanley Kubrick’s 2001: A Space Odyssey and had been watching the film on Turner Classic Movies as I puttered around on the computer this morning. My brothers and I originally saw the film when it was first released on a curved Cinerama screen at one of the Century domed theaters in San Jose, CA (adjacent to the Winchester Mystery House). It’s the same Cinerama theater that my brothers and I watched John Frankenheimer’s Grand Prix when it was first released.

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I have a friend who is a National Guardsman, and we shared small talk at work over the course of many years. One day I asked him if he ever deployed to Iraq, as so many others in my state had. He went on to tell me how he would have been honored to but […]

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Recommended by Ricochet Members Created with Sketch. First, Be Good

 

I hate to admit this, but MacGyver is not good. I’m not referring to the unwatchable reboot currently withering away on CBS. No, I mean the original Richard Dean Anderson vehicle of awesomeness which aired from 1985-1992.

Dat dat dat dat dat dat daaaaa, dat dat daaaaa. The theme song gets you pumped, right? It makes we want to go rifling through the kitchen junk drawer, grab the broken can openers and fashion a defibrillator, just in case we need one. Or take the mercury out of those unused curly cue light bulbs (still in the four-year-old box, because they suck) and make…something with mercury, and batteries!

Recommended by Ricochet Members Created with Sketch. The Art of Unplanned

 

Last year’s Gosnell and the recently released Unplanned present a thorny problem for Conservatives who choose to write about film. The morals that drive these films are undoubtedly in line with the cultural right since both are anti-abortion. That is their sole raison d’etre. It is the reason the films were made and the reason viewers bought their tickets.

So their status as art is dubious from the get-go. The question of whether or not film, and photography generally, is an art is still seriously debated in certain circles. But leaving aside that very complicated discussion, which seems to have no purchase on the popular imagination, these two films represent a perfect litmus test for whether or not a film enthusiast of the Conservative persuasion has integrity as both a person of virtue and critic of the moving picture.

Contributor Post Created with Sketch. Recommended by Ricochet Members Created with Sketch. Why It’s So Hard to Understand What a Silent Movie Audience Saw and Felt

 

Last month I re-read Leonard Maltin’s Behind the Camera, interviews with five famous directors of photography, and it got me interested in re-reading Kevin Brownlow’s The Parade’s Gone By, a longtime favorite. Camera was published in 1970 when Maltin was only 21; Parade was published in 1968, based heavily on interviews that Brownlow did during a 1964 trip to America, when he was 26. Both men are to be commended for knowing about and seeking out some of the then-forgotten filmmakers of the silent and early sound eras, many of whom were still around and delighted to have a chance to tell their stories. Now it’s a half-century later.

Brownlow’s was the more influential, though both books were coming to attention at the historical moment when film scholarship was really taking off. Brownlow’s thesis is simply that modern people look down on silent films because they’ve never seen a good one, and never seen one properly shown. In fact, he claims they’re the height of cinema, better than sound films once you properly see and understand them. He builds a good case but oversells it some. Still, there are so many great anecdotes, interviews, and learned explanations. Chapters on the making of Ben Hur and Robin Hood would be classic articles all by themselves.

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A Film by David Lowery Preview Open

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Directed by Michael Gracey   Preview Open

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